Quem Trabalha está perdido (Até o fim do mundo)

This film follows a young man considering taking on a new job. The day before his interview, he wanders around Venice, thinking about his potential future and reminiscing about past friendships and romantic relationships. There is not much in the way of plot here, more a meditation on life and whether 'work' is required for fulfilment, with the context of fascism and communism in Italy also playing a role.

Those familiar with director Tinto Bass will likely be very surprised by this film. It is not 'erotic' like his later films, or even 'experimental' like his 70s films. This is quite conventional, albeit very well crafted, B&W cinematography, shot on location, a somewhat neo-realist style, while moving beyond the traditional themes of Italian neo-realism. In that sense, it is very much in keeping with Italian cinema of the era, reminiscent of Visconti films like Rocco and his Brothers, or Antonioni films like Il Grido, that was transitioning away from neo-realism as the influence of French New-wave (and even new Hollywood) started to be felt. This films holds up against those more famous films and filmmakers, indeed it was selected as one of the.'100 Italian Films to be Saved' by the Venice Film Festival and Ministry of Cultural Heritage.

Perhaps Brass's later reputation as an 'erotic' filmmaker has tarnished the reputation of this film, which otherwise deserves to be held in much higher regard.